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Re: what's so hard?
- To: telecine at sun.alegria.com
- Subject: Re: what's so hard?
- From: KA2IQB at aol.com
- Date: Wed, 14 May 1997 15:29:28 -0400 (EDT)
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In a message dated 97-05-13 21:33:31 EDT, B. Festa wrote:
<< There is nothing more rewarding than peering into raw OCN, quickly
surveying the filmic landscape, and in a matter of seconds bringing an image
to life that is entirely "yours", >>
What you're saying is absolutely, undeniably true. One can have all the
talent in the world, but until you've been polished by experience, you're
still a diamond in the rough. But the point I was trying to bring forth is
that people-skills are just as important as art-skills, and maybe a little
more so than technical skills, when it comes to being a successful colorist.
Pop quiz: If you were color correcting a film and you threw in everything,
including the kitchen sink, to bring to life an image that was entirely
"yours," what would you do if the clients said they didn't like it, it wasn't
what they wanted (for whatever reason), and would you mind making it into
(a) Work with the client to try to find out what they **are** looking for,
and then do your best to create it, even if the results look inferior to you;
(b) Browbeat the clients into shutting up and letting you do it your way by
dropping famous names you've worked with, big-deal projects you've been in
on, and all the credits you've gotten;
(c) Send the clients and their silly film to the "mechanic" down the hall who
will make it look any way they want.
DuArt Video, N.Y.
thanks to Molly McCourt, Wayne Wagner, Peter Balfour, & Tim Bond
for support of the TIG in 1997
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